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JOHN CABOT UNIVERSITY
COURSE CODE: "AH/CL 222"
COURSE NAME: "Perception of Space: Wallpainting in the Ancient Mediterranean"
SEMESTER & YEAR:
Fall 2024
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SYLLABUS
INSTRUCTOR:
Crispin Corrado
EMAIL: [email protected]
HOURS:
TTH 3:00 PM 4:15 PM
TOTAL NO. OF CONTACT HOURS:
45
CREDITS:
3
PREREQUISITES:
OFFICE HOURS:
By Appointment
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COURSE DESCRIPTION:
The course examines wall painting and painted spaces in the Greek and Roman world. It focuses mainly on fresco painting, and examines the versatility and visual impact of this medium across subject, setting and viewing. Since wall painting is intimately linked to its display setting, the course will examine both the subjects and artistic approach of the paintings, and the nature of the spaces they adorned, as well as the interplay of the two-dimensional medium and its three-dimensional setting. Considerations may hence address aspects such as pictorial illusionism, public and private display, articulation of space, the role of the viewer, and the relationship between movements and viewing.
Satisfies "the Ancient World" core course requirement for Art History majors
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SUMMARY OF COURSE CONTENT:
The
course will examine wall painting primarily in its social and cultural
contexts, and will give particular emphasis to the intersection between what is
displayed, where it is displayed, and how this may have been perceived. It will examine fresco painting
in the Greek and Roman world, from the Aegean Bronze Age to Late Antiquity,
through formal means such as analyzing iconography, technique, and
representation of space and style, and through investigation of architectural
context, in order to appreciate the intended experience of the viewer. The
course will therefore explore questions that in various ways relate to the
process of viewing wall paintings and painted spaces. These include:
· The relationship between
painting and space: Were the mural paintings meant to
extend visual space and dissolve the physical wall illusionistically? If not,
were the painted elements considered viewable “art” or alternatively, simply
“decoration”?
· The relationship between painting and movement: Were
paintings meant to direct visitor movement in or through painted spaces? Were
the audience meant to engage with the painted scenes as static or moving
viewers?
· The relationship between painted space and viewer’s space:
How may painted figures be seen to act as witnesses or participants in actions
taking place in the physical space? How may paintings reflect on the owner or
occupier of the space?
To augment understanding of this ancient artistic medium, pertinent
ancient sources will be consulted, informing on everything from technical
processes to criteria for choosing certain colors or images. The course will
also provide a history of the rediscovery of the important examples studied, as
well as a review of scholarly research, to date.
The
course includes an all-day site visit in Rome to see in-situ wall paintings at the Domus Aurea palace of Nero, and the
so-called Houses of Augustus and Livia on the Palatine Hill. The cost of this
is estimated to be 30 Euro per person.
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LEARNING OUTCOMES:
· The course will foster a
firm understanding of developments and traditions of wall painting and painted
spaces in the ancient Mediterranean, and an ability to analyze trends and
changes in context.
· The course will
familiarize students with the rhetoric of painted spaces and painting styles, and
will foster an in-depth knowledge of key
examples, along with the methodologies to interpret them. The aim is to
cultivate an awareness of painted spaces as dynamic stages of social
interaction, and an understanding of the impact of patronage and viewing.
· The course will develop
the ability to use relevant historical, art historical and architectural
terminology to effect, in order to analyze art, architecture and material
culture as primary sources.
· The course will develop
powers of expression, including the organization of material, participation in contextual
and nuanced discussion, the focused presentation of data, experience with public
speaking and presentations, and participation in debates.
The course will expand
critical thinking and interpretation skills, including the reasoned
consideration and evaluation of evidence and methods, interpretation of
arguments presented, and reflection on context and impact.
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TEXTBOOK:
| Book Title | Author | Publisher | ISBN number | Library Call Number | Comments | Format | Local Bookstore | Online Purchase |
| Roman Painting | Roger Ling | Cambridge University Press | 978-0521315951 | | | | | |
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REQUIRED RESERVED READING:
| Book Title | Author | Publisher | ISBN number | Library Call Number | Comments |
| Aegean Painting in the Bronze Age | Sara Immerwahr | Penn State University Press | 978-0271006284 | | |
| Cambridge History of Painting in the Classical World | J. J. Pollitt (ed.) | Cambridge University Press | 978-0521865913 | | |
RECOMMENDED RESERVED READING:
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GRADING POLICY
-ASSESSMENT METHODS:
| Assignment | Guidelines | Weight |
| Preparation and Participation | Students are expected to show up on time to class, ready to actively participate, and having completed the reading assignment for the day. | 10 |
| Midterm Exam | There will be an examination midway through the semester, testing on materials covered (readings, lectures, and mural painting examples seen and discussed) to that point. The exam will include slide identifications, term definitions, and essay questions. | 20 |
| Final Presentation | Students will present the final results of their research projects in class. Presentations should be full and complete, with images and optional handouts. Presentations will be between 20 - 30 minutes in length. | 20 |
| Final Research Paper | Students will be required to write a research paper on a topic from a list provided. Research will progress in two phases. Phase One, due after the midterm exam, will consist of a two-page write up introducing the paper topic, and should include a thesis statement and the following information, in outline form: an introduction to the culture that produced the mural(s), the artwork(s) proper and the specific question(s) about the artwork(s) the student will be investigating, current scholarship, and plans for research. An annotated bibliography of five academic sources (not including the textbooks) should accompany this write-up. Phase Two is the final research paper, which should be at least eight to 10 pages in length (double-spaced with 1-inch margins, 10- or 12-point font size) with a cover sheet, images section, and a correctly formatted, full bibliography. Citations should be made in the form of footnotes according to MLA or Chicago Manual of Style guidelines. | 25 |
| Final Exam | The final exam will be cumulative, and will test on materials covered (readings, lectures, and mural painting examples seen and discussed) all semester. The exam will include slide identifications, term definitions, and essay questions. | 25 |
-ASSESSMENT CRITERIA:
AWork of this quality directly addresses the question or problem raised and provides a coherent argument displaying an extensive knowledge of relevant information or content. This type of work demonstrates the ability to critically evaluate concepts and theory and has an element of novelty and originality. There is clear evidence of a significant amount of reading beyond that required for the course.
BThis is highly competent level of performance and directly addresses the question or problem raised.There is a demonstration of some ability to critically evaluatetheory and concepts and relate them to practice. Discussions reflect the student’s own arguments and are not simply a repetition of standard lecture andreference material. The work does not suffer from any major errors or omissions and provides evidence of reading beyond the required assignments.
CThis is an acceptable level of performance and provides answers that are clear but limited, reflecting the information offered in the lectures and reference readings.
DThis level of performances demonstrates that the student lacks a coherent grasp of the material.Important information is omitted and irrelevant points included.In effect, the student has barely done enough to persuade the instructor that s/he should not fail.
FThis work fails to show any knowledge or understanding of the issues raised in the question. Most of the material in the answer is irrelevant.
-ATTENDANCE REQUIREMENTS:
ATTENDANCE REQUIREMENTS AND EXAMINATION POLICY
Two unexcused absence is permitted. Punctuality
is essential; three late arrivals will count as one unexcused absence.
You cannot make-up a major exam (midterm or final) without the permission of the Dean’s Office. The Dean’s Office will grant such permission only when the absence was caused by a serious impediment, such as a documented illness, hospitalization or death in the immediate family (in which you must attend the funeral) or other situations of similar gravity. Absences due to other meaningful conflicts, such as job interviews, family celebrations, travel difficulties, student misunderstandings or personal convenience, will not be excused. Students who will be absent from a major exam must notify the Dean’s Office prior to that exam. Absences from class due to the observance of a religious holiday will normally be excused. Individual students who will have to miss class to observe a religious holiday should notify the instructor by the end of the Add/Drop period to make prior arrangements for making up any work that will be missed.
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ACADEMIC HONESTY
As stated in the university catalog, any student who commits an act of academic
dishonesty will receive a failing grade on the work in which the dishonesty occurred.
In addition, acts of academic dishonesty, irrespective of the weight of the assignment,
may result in the student receiving a failing grade in the course. Instances of
academic dishonesty will be reported to the Dean of Academic Affairs. A student
who is reported twice for academic dishonesty is subject to summary dismissal from
the University. In such a case, the Academic Council will then make a recommendation
to the President, who will make the final decision.
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STUDENTS WITH LEARNING OR OTHER DISABILITIES
John Cabot University does not discriminate on the basis of disability or handicap.
Students with approved accommodations must inform their professors at the beginning
of the term. Please see the website for the complete policy.
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SCHEDULE
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Readings TBA
Week
1, Day 1
Introduction to the Course
Week
1, Day 2
Overview
of Rediscovery and Scholarship on Ancient Wall or Mural Paintings
The
Ancient Sources
Week 2, Day 1
Fresco
Painting: The Technique
Week
2, Day 2
The Roman Domus
Week
3, Day 1
Roman Wall Painting - The Four Styles, Part I
Week
3, Day 2
Roman Wall Painting - The Four Styles, Part II
Week 4, Day 1
Roman
Wall Painting - Special Aspects and Examples
- Still Life
- Portraits
- Daily Life Scenes
- The "Zebra Stripe" Design
Week
4, Day 2
Roman
Wall Painting - Special Aspects and Examples
- Greek Myths
- Sacral-Idyllic Landscapes
- History and Legend
Week
5, Day 1
Roman Wall
Painting - Examples in Rome, Part I
Week
5, Day 2
Roman Wall
Painting - Examples in Rome, Part II
Week
6, Day 1
Roman Wall Painting - Examples in the Bay of Naples,
Part I
Week 6, Day 2
Roman Wall Painting - Examples in the Bay of Naples,
Part II
Week
7, Day 1
No Class
Week
7, Day 2
Review for Midterm Exam
Week
8, Day 1
MIDTERM
EXAM
Week
8, Day 2
Etruscan Tomb Painting, Part I
Week
9, Day 1
Phase
I of Research Papers Due
Etruscan Tomb Painting, Part II
Week
9, Day 2
Etruscan Tomb and Sarcophagus
Painting, Part III
Week
10, Day 1
Paintings from Paestum
Week
10, Day 2
Macedonian Tomb Painting and the Tomb of Persephone
at Vergina
Week
11, Day 1
Bronze Age Aegean, Part I
Week
11, Day 2
Bronze
Age Aegean, Part II
Week
12, Day 1
Bronze Age Aegean, Part III
Week
12, Day 2
Roman Wall
Painting: Further Afield
Week 13, Day 1
Roman Wall
Painting: Influence on Later Art in Rome
Week 13, Day 2
Final Project
Presentations
Week
14, Day 1
Final
Project Presentations
Week
14, Day 2
Final Research Papers
Due
Review for Final Exam
Final
Exam - TBA
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